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Strike Anywhere Live at Trabendo on 2009-02-17

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etree
Strike Anywhere Live at Trabendo on 2009-02-17




01-Detonation
02-Hollywood Cemetery
03-Infrared
04-Laughter In A Police State
05-Instinct
06-To The World
07-Prisoner Echoes
08-On Your Opposite Number (new song)
09-Chalkline
10-Extinguish
11-Sedition
12-We Amplify + Blaze
13-Sunset On 32nd


Collection StrikeAnywhere
Band/Artist Strike Anywhere
Venue Trabendo
Location Paris, France

Source Church Audio B-99A stereo omnidirectional (pro-binaural) mics > Church Audio ST-20A preamp > Iriver H340 (rockboxed) wav
Lineage Iriver H340 (rockboxed) wav > PC (usb 2.0) > Audacity 1.2.6 (fade in/out + cut) > CDex version 1.70 beta 2 (FLAC level 8
Taped by elfactor
Transferred by elfactor

Notes

This was the first time I used my new equipment. I had to recut the files, cause instead of one big file,
the recorder splitted the recording in several tracks (when there was silence). But the real problem is that
the recorder stopped the recording at some points, and started again when there was some noise (enough to record).
So, on 2 or 3 songs, the first second of the song is missing. But it's minor, and is quite listenable, don't worry ;)

file renames and LMA upload by aaron parker

comment
Reviews

Reviewer: A440hz - favoritefavoritefavoritefavorite - February 10, 2011
Subject: AWESOME!
this is great, strike anywhere is paris is like a dream come true. May i offer one form of constructive criticism?

look into mastering techniques to better the sound after getting your best recording such as:

1. EQ. You could use reasonable amounts of EQ to balance the perceived difference between what you actually heard at the concert, to what the mics picked up. WIKI the "proximity effect"... I believe that certain frequencies (mostly under 50 Hz) alter phases of other frequencies, resulting in a recording with less bite then when either recording with a low bass roll off on your input or using EQ to try for a better reproduction of the source in post-production.

after applying some sort of High Pass Filter you could use a notch band filter with a wide Q setting to reduce the volume of elements that are out of balance then with the whole.

2. compression. using a compressor you could then reduce the range of dynamics a bit, to give a sound that is more akin to what the ear would hear in person, or could be produced on a multi-track professional mix.


Maybe some professional mastering engineers could chime in on this, but I believe you will find a greater satisfaction when listening to your own hard work.

Thanks and Peace,
Bill
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InfiniteOhms
on 2/28/2009
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